T-Bone / Dylan project: Lost On The River

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sweetest punch
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Re: T-Bone / Dylan project: Lost On The River

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http://www.theaustralian.com.au/arts/re ... 7033350317

Elvis Costello and friends give new life to Bob Dylan’s lost lyrics

ELVIS Costello is slouched on a sofa, dressed in a sharp, black suit, with his hat slanted down over his trademark dark glasses. In his sedentary state it’s hard to gauge what effect the music coming from the giant, state-of-the-art speakers in front of him is having. But for the occasional nod of the head and his fingers drumming lightly on a water bottle, one might suspect the collection of songs had sent the acclaimed English songwriter into an early evening slumber.

We’re in Studio A of the Metropolis Studio complex, housed in the imposing Victorian structure known as the Powerhouse in west London. The building was so named more than 100 years ago because it generated power for the trams operating around Chiswick. For the past 25 years, however, music has been its purpose. The Verve recorded Urban Hymns here. Amy Winehouse’s landmark Back to Black and Lauryn Hill’s The Miseducation of Lauryn Hill also took shape within its sturdy red-brick walls.

Bob Dylan, who is touring Australia, hasn’t been to Metropolis. Yet it’s down to him that Costello is in Studio A, holding court, along with renowned American producer T Bone Burnett, to share with an invited few the new music the two of them have made together. They were joined in this enterprise by four other musicians — Mumford and Sons’ Marcus Mumford, My Morning Jacket’s Jim James, Taylor Goldsmith from the Los Angeles band Dawes and Rhiannon Giddens from the Americana outfit Carolina Chocolate Drops. Only the music belongs to them, however: Dylan penned the words.

Until last year all of these handwritten lyrics by one of the most revered songwriters in history had sat in a box folder in Dylan’s possession, with a label marked “1967”, the year of their creation, the only key to the unseen, forgotten riches that lay within. That’s the year Dylan and members of the Band recorded the Basement Tapes at various houses in and around Woodstock in upstate New York, where they had taken up residence following the singer’s debilitating motorcycle accident a year earlier. Dylan wrote ferociously during that time and with the Band recorded more than 100 songs, on basic equipment, most of which surfaced on bootlegs before an official album, The Basement Tapes, was released in 1975. That album contained 24 songs (eight of which were recorded solely by the Band), including This Wheel’s on Fire (co-written with Rick Danko) and You Ain’t Goin’ Nowhere.

Dylan found the discarded lyrics from that period last year and handed them to his friend Burnett, suggesting the producer may be able to do something with them. That’s how Lost on the River: The New Basement Tapes was born.

At 66, Burnett is a dapper elder statesman of Americana music whose production credits include the Grammy-winning O Brother, Where Art Thou? soundtrack album and Robert Plant and Alison Krauss’s Raising Sand. He also has a history with Dylan, having played guitar on the singer’s famed Rolling Thunder Revue tour in 1975-76. He’s uncertain about Dylan’s motives for passing the lyrics to him, other than that the great songwriter may have been prompted by his involvement in a similar project, The Lost Notebooks of Hank Williams, in 2011.

“I have no idea,” Burnett says. “I can only conjecture. He found a box of lyrics. What do you do with them? He could have left them in the box. He could have thrown them away. He could have sold them as original lyrics.

“My guess is he had been part of that Williams project and probably just thought he should do that.”

As it turns out, while Burnett has been introducing some of the recordings to the assembled guests, Costello has been far from asleep on the sofa. He has focused on each of the tracks being played, some of which, including the title song, feature his lead vocal. All five musicians wrote music for a number of the same Dylan lyrics, which the ensemble then played together. There are in the region of 55 tracks for the 24 lyrics, with titles such as Kansas City, Lost on the River, Liberty Street and Spanish Mary. We get to hear, for example, James, Mumford and Costello’s diverse musical treatment of the same words. Costello is particularly attentive during playback because, as with everyone in the room bar Burnett, he is hearing these final mixes of the Lost on the River songs for the first time.

“Everybody had their own idea of how the tune went,” Costello says, sitting next to Burnett when the listening session is over. The two men have a warm friendship and a mutual respect that stretches back almost 30 years. Burnett has produced four Costello albums, starting with King of America in 1986, the most recent of which was 2010’s National Ransom. He also produced Costello’s wife Diana Krall’s most recent album, Glad Rag Doll.

Costello likes to talk and spars easily with his more senior collaborator, recalling with humour Burnett’s gentle, restrained authority in the studio. “I’ve known T Bone a long time and we’ve got into a lot of interesting scrapes together,” he says, “but this is one of the best.” Costello is animated too when explaining how he and his four songwriting colleagues, having answered Burnett’s call, got to grips with the task before them.

“There was a box file with all the original manuscripts in it,” Costello explains. “So we got to see the way they were actually written on the page. It was obvious Bob didn’t edit any of these at the time. For whatever reason, he set them aside and never set them to music. So you would sort of say that, ‘Well, maybe they’re not the best things he wrote’, but then we started working on them and all these surprising things would happen.

“Some were very funny and others were quite moving. When you started to sing … find music for them … it was funny how the same musical cadence would develop for two or three of us. But of course the opposite would happen as well. Some would set a lyric differently.

“One lyric came out as a jump blues from one person and a Hawaiian tune from another, or another would sound like it was African. That was the story that developed.”

THE story of the original Basement Tapes is a complex one. After his accident, Dylan retreated to his home near Woodstock to recover. He had enjoyed great success with the album Highway 61 Revisited and the double album Blonde on Blonde, but the batch of new songs and cover versions — some recorded in his house, others in the basement at Big Pink, the house occupied by the Band’s Danko, Garth Hudson and Richard Manuel — took his music in several new directions, tapping into all sorts of strains of blues, country, folk and rock ’n’ roll. Along with the Band’s guitarist and singer Robbie Robertson, who lived nearby (drummer Levon Helm was absent) they spent the first few months recording whatever came to mind, before Dylan began to write, often on the spot while they were playing. I Shall Be Released, Quinn the Eskimo (The Mighty Quinn) and Please, Mrs Henry are some of the songs that emerged. Tracks that appeared on the official album, such as Apple Suckling Tree and Clothes Line Saga, reflect Dylan’s rural and domestic lifestyle at the time.

Costello, always a Dylan fan, has a particular connection to the Basement Tapes in their early form. “I saw the original songs for the Basement Tapes as sheet music first,” he says. “By sheer chance I came across a folio that was published in England about 1969 and I bought it because it was cheap. The only song I knew on there was The Mighty Quinn (a hit for British band Manfred Mann). No other songs had been recorded at that point. I didn’t buy bootlegs. I was 15. I didn’t know how to read music then either. I don’t really now, although I can write it down. I couldn’t have sight-read those songs so I had to imagine what they were like. I could read the lyrics and they were intriguing, but I had no idea what they sounded like until they were released six years later.”

The “new” lyrics contain words, themes and topics common to the old published ones. Eskimos, for example, feature in several of them. On the song Nothing to It, Dylan seems to be addressing his destiny as a rock star, citing the path set for him by the likes of Elvis Presley, Eddie Cochran and Buddy Holly.


I knew that I was young enough
And I knew there was nothing to it
For I’d already seen it done enough
And I knew there was nothing to it.



“That was something he couldn’t say personally at the time,” says Burnett, “but it’s him talking about becoming the biggest star in the world and how easy it was for him.”

Burnett, from St Louis, Missouri, but raised in Fort Worth, Texas, was playing in bands in Los Angeles when he got the call from Dylan’s collaborator Bob Neuwirth to join the Rolling Thunder Revue, a tour also featuring Joan Baez, the Byrds’ Roger McGuinn and Ramblin’ Jack Elliott. It was a learning experience he looks back on fondly. And he has great respect for Dylan as a musician and for his legacy, including the newly discovered batch of lyrics.

“Everything I need to know about show business I learned on those few months of the Rolling Thunder Revue,” he says. “It was a theatre piece; it was a revue; it was pure storytelling. My impression of him at the time is that he went for the groove. He was a groover. That was the main thing I felt about him. I didn’t feel like he wanted to be a genius poet or a messiah.

“There have been people who say Dylan is not a good singer or harmonica player or not a good musician, as if all he does is write mysterious lyrics. But he is a great musician; great singer. He’s one of the greatest singers of his generation, if not the greatest.”

THERE is no shortage of good singers on this latest manifestation of Dylan’s craft — and versatile ones at that. The basement that served the project wasn’t in upstate New York or in west London, but in Los Angeles, at the famed Capitol Studios, where Costello and his four collaborators joined Burnett for 12 days to lay down their interpretations of the master’s words. They could have brought in session players to back them up, but chose instead to be the band as well as the writers and singers. There were a few ring-ins, including actor Johnny Depp, who played guitar on one song when Costello had to honour another booking out of town. Mumford took the drum stool for some of the sessions. Giddens, a versatile violinist, banjo player and singer, contributed all three, while the others took turns on a variety of instruments. That, Costello says, “was in the spirit of it”.

“We weren’t trying to kid ourselves that we were either Bob or the Band,” he says, “but it was kind of fun to find a solution to how to play these tunes we’d come up with between us. None of us is primarily a bass player.

“Taylor’s a pretty good bass player but it’s not his main instrument. Jim and I could get around on the bass. I played a bit of keyboards. We all had a go on guitar, and obviously Rhiannon’s very good on banjo and fiddle.

“We didn’t always want those instruments. It was very, very good fun and it constantly surprised me. It was a licence for us to just enjoy ourselves. Anything was a possibility if we could just get it on to tape.”

There are several versions of the title track. Costello’s gets an airing in London and it is one of the most powerful — a towering, melodic anthem with the singer at his most melodramatic.

“That one just jumped out at me,” Costello says of the lyric, which he read while sitting at Burnett’s kitchen table early in the piece. “I went in the back yard and wrote the melody.”

He believes that although they are only words on paper, Dylan’s lyrics have a subliminal musicality to them that can steer a song in a certain direction.

“It didn’t take very long to write the music for that one,” he says. “I made an editorial decision to jump right in. I took something quite different from it than the others. It was about getting over that sense of tying your hands by being intimidated by who had written the lyrics in the first place. If Bob had wanted to finish these songs he could have done it.

“He knows how to write songs. He clearly knows how to write lyrics. And he is tremendous rhythmically. Trust me on that one, because I know how to cram a lot of words in. It’s really challenging. With this process a lot of it was recognising the rhythm that was implied. “

For the 12 days, Burnett was the quiet man in the control room. His way of working is to let the music guide him, rather than the other way around.

“I try to use as light a touch as possible,” he says. “I try to set up an environment that engenders generosity. I’m at my happiest when I don’t say a word and just listen. I feel I just listen these things into existence.”

The end result of this collaborative effort by a bunch of like-minded talents is an album containing 20 of the 55 tracks, which is due for release in November. There will also be a documentary. Filmmaker Sam Jones, best known for his revealing portrait of the band Wilco, I Am Trying to Break Your Heart, was on hand for the entirety of the project. There will also be a few shows to promote the album release, but most likely only in the US, given the heavy schedules of the individual participants.

The remaining tracks will follow later, possibly in two more instalments. There is talk also of more recording.

“Maybe we can just release bootlegs of our own Basement Tapes,” Costello says.

“I don’t know how we might do it. All I know is it was a gas.”

Lost on the River: The New Basement Tapes Vol 1 will be released through Harvest Records/EMI on November 7.

Iain Shedden travelled to London courtesy of EMI Australia.
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sweetest punch
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Re: T-Bone / Dylan project: Lost On The River

Post by sweetest punch »

Seems like there was also an event for the press in New York last week: http://blogs.wsj.com/speakeasy/2014/08/ ... ent-tapes/

Artists Dust Off Old Dylan Lyrics for ‘Lost on the River: The New Basement Tapes’

A long forgotten box of lyrics written in 1967 by Bob Dylan provided the spark for the new album “Lost on the River: The New Basement Tapes,” out November 11.

Written in a feverish burst while he was composing the songs that were included on the original “The Basement Tapes,” recorded in ’67 with members of the Band, the recently discovered lyrics were set to music by Elvis Costello; Rhiannon Giddens of the Carolina Chocolate Drops; Taylor Goldsmith of Dawes; Jim James of My Morning Jacket; and Marcus Mumford of Mumford & Sons.

The musicians play and sing in varying combinations on the new tracks, which were recorded in March at Capitol Studios in Hollywood.

T Bone Burnett produced the sessions. Long associated with Dylan – he played in Dylan’s touring band in the mid ‘70s – Burnett said most of the lyrics were written on yellow legal paper and hotel stationery. “Bob was too prolific to keep up with himself,” he said.

At an event held last week at Electric Lady Studios in New York, Burnett said the musicians he chose were all experienced band leaders who would set aside an opportunity for individual acclaim to contribute to a collective effort to celebrate Dylan and his words. When Burnett approached each artist he asked: “How would you like to collaborate with a 26-year-old Bob Dylan?”

The ad-hoc group recorded far more than the 20 tracks that will appear on “Lost on the River: The New Basement Tapes.” They’ll be released during the next few years, Burnett said.

Following the album’s release, Showtime will air a documentary, “Lost Songs: The Basement Tapes Continued,” on Nov. 21.
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Re: T-Bone / Dylan project: Lost On The River

Post by Jack of All Parades »

A slightly dissenting opinion on the project at least in regard to the first leaked song:

http://somethingelsereviews.com/2014/08 ... iver-2014/
"....there's a merry song that starts in 'I' and ends in 'You', as many famous pop songs do....'
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Re: T-Bone / Dylan project: Lost On The River

Post by And No Coffee Table »

In a surprise twist, Bob Dylan is putting out 6 CDs of the original Basement Tapes on November 4, one week before Lost on the River.

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sweetest punch
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Re: T-Bone / Dylan project: Lost On The River

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Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: T-Bone / Dylan project: Lost On The River

Post by bronxapostle »

as predicted on March 27 in this thread.... :lol: :lol: :lol: thanks for the good news ANCT!!!
bronxapostle wrote:all this BASEMENT TAPES talk calls to mind that there has NEVER been any kind of reissue from Bob! sounds like, as the stars align later in the year or early next, it would indeed make for a spectacular THE BOOTLEG SERIES VOLUME 11 release. i hope there are no sort of contractual (The Band) or ever unyielding (Robbie Robertson) problems that would impede this. am i correct that R.R. has been the 'difficult' one in the past? i was lucky enough to see them live in 1976 and bumped into a man in a red suit in the men's room way before the show start time. he said HELLO. when i saw the gentleman on stage two hours later with that same red suit and a Stratocaster in his hand, i told my cousin who took me. sixteen year old ba did NOT recognize him as i was not yet a big fan. :oops: :oops:
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Re: T-Bone / Dylan project: Lost On The River

Post by verbal gymnastics »

Slight deviation from the original thread but WOW. And I know I'll have to buy the 6 CD set. If I buy the highlights set then I'll miss something...
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Re: T-Bone / Dylan project: Lost On The River

Post by Jack of All Parades »

Whoa, indeed. With you on the Six- started saving my pennies yesterday. It has also sort of taken the air out of the other project for me. :|
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Re: T-Bone / Dylan project: Lost On The River

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I'm really disappointed that Bob's Basement Tapes will be released one week before the New Basement Tapes.
That release will overshadow the New Basement Tapes.
I'm afraid the new songs won't get a fair chance.
Why not release the New Basement Tapes in September and Bob's Basement Tapes in November?
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Re: T-Bone / Dylan project: Lost On The River

Post by And No Coffee Table »

Yeah, I had pretty much the same reaction. I had a vision of critics reviewing both albums together, writing at length about the Dylan set with a paragraph at the end about Lost on the River.

But since Lost in the River has Dylan's blessing, I have to think the Dylan camp believes one release promotes the other — and I notice that several of today's articles about Dylan's release include a mention of the new album.
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Re: T-Bone / Dylan project: Lost On The River

Post by bronxapostle »

of course they work well together being released simultaneously. i know i am NOT shocked. :lol: :lol: :lol:
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Re: T-Bone / Dylan project: Lost On The River

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http://instagram.com/p/sNSsVcEeyi/
Next week you can instantly download "Married To My Hack" from Lost On The River: The New Basement Tapes. Check out a sneak peek at original handwritten lyrics and sketches by Bob Dylan! Pre-order now and you can also grab "Nothing To It." http://myplay.me/1avb

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"Married To My Hack" has previously been reported as an Elvis-sung track.
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Re: T-Bone / Dylan project: Lost On The River

Post by And No Coffee Table »

Image
"Elvis and Taylor in the Capitol Studios during tracking sessions" http://twitter.com/newbsmnttapes/status ... 3397648386

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"Elvis, Marcus, and Taylor during writing sessions" http://twitter.com/newbsmnttapes/status ... 0761294848
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Re: T-Bone / Dylan project: Lost On The River

Post by johnfoyle »

There were a few ring-ins, including actor Johnny Depp, who played guitar on one song when Costello had to honour another booking out of town.
I'm curious about this much repeated story. The first inkling we got of Elvis being part of this project was on Thursday March 13th when a friend with a connection in the studio told me that Elvis had been taking part that day in the recordings. This was around the time of the Roots gigs in Vegas Sat/Sunday March 15/16. Other accounts say the Dylan album was done in 12 days. Rhiannon Giddens posted on Facebook on March 27th that the recordings were done. Besides guesting in Santa Monica with Jackshit on Sat March 22 we know of no other shows featuring Elvis until London on April 10th.

Maybe the sessions continued over the weekend of the Roots shows and perhaps Johnny Depp then did his guest piece. However a Google search tells us that Mr Depp threw a party for his engagement to his latest partner at The Carondelet House in Los Angeles on Friday, March 14, 2014. So , he gets engaged & then spends , maybe, part of the weekend recording? So maybe he did his piece on a subsequent date , up to March 27th.

This is all a long winded way of wondering if Elvis's 'booking out of town' was another corporate or private engagement ? I daresay we'll never know. It wouldn't probably have amounted to much anyway , the usual hits etc.
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Re: T-Bone / Dylan project: Lost On The River

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johnfoyle wrote:
There were a few ring-ins, including actor Johnny Depp, who played guitar on one song when Costello had to honour another booking out of town.
I'm curious about this much repeated story. The first inkling we got of Elvis being part of this project was on Thursday March 13th when a friend with a connection in the studio told me that Elvis had been taking part that day in the recordings. This was around the time of the Roots gigs in Vegas Sat/Sunday March 15/16. Other accounts say the Dylan album was done in 12 days. Rhiannon Giddens posted on Facebook on March 27th that the recordings were done. Besides guesting in Santa Monica with Jackshit on Sat March 22 we know of no other shows featuring Elvis until London on April 10th.

Maybe the sessions continued over the weekend of the Roots shows and perhaps Johnny Depp then did his guest piece. However a Google search tells us that Mr Depp threw a party for his engagement to his latest partner at The Carondelet House in Los Angeles on Friday, March 14, 2014. So , he gets engaged & then spends , maybe, part of the weekend recording? So maybe he did his piece on a subsequent date , up to March 27th.

This is all a long winded way of wondering if Elvis's 'booking out of town' was another corporate or private engagement ? I daresay we'll never know. It wouldn't probably have amounted to much anyway , the usual hits etc.
Our resident PI strikes again! Very good detective work Mr. Foyle.
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Re: T-Bone / Dylan project: Lost On The River

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And No Coffee Table wrote:http://instagram.com/p/sNSsVcEeyi/

Next week you can instantly download "Married To My Hack" from Lost On The River: The New Basement Tapes.
I had wondered if this might be available only to buyers from thenewbasementtapes.com, but no, Amazon says the MP3 can be purchased September 2.

(But another free listen like "Nothing To It" would be even better.)
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Re: T-Bone / Dylan project: Lost On The River

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johnfoyle wrote:However a Google search tells us that Mr Depp threw a party for his engagement to his latest partner at The Carondelet House in Los Angeles on Friday, March 14, 2014. So , he gets engaged & then spends , maybe, part of the weekend recording?
Depp was photographed with Marcus Mumford in L.A. on March 16. He was in New York by March 22.
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Re: T-Bone / Dylan project: Lost On The River

Post by johnfoyle »

'Tenement, back alley ' into Google image search leads me to the photo that is on the cover of the New Basement Tapes.
By Jacob August Riis (May 3, 1849 – May 26, 1914) , it's described as 'Those of Mullins alley (outside the tenements)' in his How the Other Half Lives book, 1890 & as 'A group of boys and a couple of girls congregate in Mullin's Alley, Cherry Hill, New Jersey. '
Another search seems to indicate that Cherry Hill , New Jersey is , of course, no longer a tenement. Maybe someone nearer there could enlighten us!


http://drewphotoalastair.blogspot.ie/20 ... -riis.html


http://en.wikipedia.org/wiki/Jacob_Riis

http://www.gettyimages.ie/detail/news-p ... to/3240089

http://roamaboutmike.com/2012/10/10/tal ... erly-love/



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Re: T-Bone / Dylan project: Lost On The River

Post by MOJO »

Why the last image of Elfreth's Alley in Philadelphia?
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Re: T-Bone / Dylan project: Lost On The River

Post by johnfoyle »

Really? The post I nicked it from seems to indicate otherwise. I'll check it out properly later!
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Re: T-Bone / Dylan project: Lost On The River

Post by And No Coffee Table »

30 second preview of "Married To My Hack":
http://itunes.apple.com/nz/album/marrie ... d909268029
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Re: T-Bone / Dylan project: Lost On The River

Post by And No Coffee Table »

And here's the whole song.

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Re: T-Bone / Dylan project: Lost On The River

Post by cwr »

Surprisingly little chatter surrounding the new EC/Dylan song!

Perhaps because it's a rather modest track? 2 minutes and probably one I'd put in the same column with "Shallow Grave" (one of the McCartney/MacManus songs I find fun but not earth-shattering.)

This one has some enjoyable touches here and there but I can't help but wonder what the thinking was in this being one of the first 2 tracks released. I'm hoping there will be some songs that have more impact on me than the first two, which are both nice but fairly mild.
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Re: T-Bone / Dylan project: Lost On The River

Post by The Gentleman »

Early review of entire album: "unexpected delight."

http://www.daysofthecrazy-wild.com/init ... ried-hack/
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Re: T-Bone / Dylan project: Lost On The River

Post by Ymaginatif »

'Married To My Hack' ... sounds like Costello on auto-pilot now , delivered in his usual sing-song, make-it-up-as-you-go, rap-oid style, with no effort to create any real melody.

The lyrics sound terribly clunky too.

Let's say, I don't think I'm going to buy the £100 version of this album ;)
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